Dissertations / Theses on the topic 'Hopi Indians in fiction'

This thesis compares the ancient games played by the Blackfoot confederacy and the Hopi Pueblos and examines their contemporary application. A literature review resulted in the aggregation of 34 Blackfoot games and 34 Hopi games. The 68 games were clustered into games of dexterity, guessing games, amusement, and games in legend. Twenty games were selected to be compared in the areas of equipment, purpose of play, how the game was played, number of participants, the gender allowed to play, the age of participants, season of play, the length of time to play the game, scoring, and how a winner was declared. This study also examines, through the literature review, personal communication and Internet information that the ancient games of the Blackfoot and the Hopi have contemporary application, which may be achieved with slight variations. Additional information on the composition, origins, linguistic families, possible tribal associations, and some European encounters of the Blackfoot and the Hopi was provided. This information is included as context to aid in the exclusion of games that may have been adopted from the Europeans. The thesis concludes there is an urgent need to identify the ancient games of Blackfoot and Hopi before knowledgeable elders are gone. Also it is recommended that this not be the end of the study of the games, but that it only be a beginning on which to build.
xiii, 116 leaves ; 29 cm.

The architecture of the modern Hopi pueblo of Oraibi provides important data for the interpretation of prehistoric villages in the American Southwest and elsewhere. Using historic photographs, maps, and other documents, architectural change at Oraibi is examined over a period of almost 80 years, from the early 1870s to 1948, a span that includes an episode of population growth and a substantial and rapid population decline. Because archaeologists make extensive use architecture for a variety of types of prehistoric reconstructions, from population size to social organization, understanding the dynamics of puebloan architecture is important. This study offers several principals which condition architectural dynamics in pueblo-like structures in the Southwest and in other parts of the world. Four types of architectural change are identified at Oraibi: rooms were abandoned, dismantled, rebuilt, and newly constructed. Some changes were the result of the introduction of EuroAmerican technology and governmental policies. An increase in the rate of architectural change, especially new construction and rebuilding, suggests that population was increasing during the late 19th century. Patterns of settlement growth involved both the expansion of existing houses and the construction of new houses. Oraibi architecture, with contiguous rows of houses, may have restricted the development of extended families. After the 1906 Oraibi split, half the population left the village, and in the following decades, population continued to decline. Abandoned houses were often rebuilt and reoccupied by remaining residents. The number of rooms per house declined, especially upper story rooms. The areas of the settlement that continued to be occupied or were reoccupied were those around important ceremonial areas, such as the Main Plaza. The examination of architecture at historic Oraibi supplies links between social processes and architectural dynamics that are applicable to the prehistoric record. Patterns of intra-household architectural change and of settlement growth and abandonment, observed at Oraibi, provide keys to the investigation of similar processes at prehistoric sites.

The last in a long line of Mesoamerican cultures, the Aztecs massed in the metropolis of Tenochtitlan-Tlatelolco and neighboring cities in the Valley of Mexico, with bureaucracies and royal houses as cosmopolitan as those of their eventual conquerors, the Spaniards. In North America, however, tribal cultures developed organizations based not on the state, but on kin and family relations. The basis of this paper is a comparison of the values fostered by tribalism and those propounded by bureaucracy, whether Mexican or European or even Ming Chinese. The method employed is that of a series of six short pieces of original fiction (one for each of the cardinal points, one for Father Sky, and one for Mother Earth), based on research into the world-views of North American Indian cultures and tribal experiences, and which may be construed as a critique of the notion of the universality of human values.

This is the first of three parts in the first of three planned novels, collectively called The Great Plains Trilogy, which takes place between 1841 and 1845. Set against such historical events as the Battle of Plum Creek and the Texas Council House Fight, Part One follows Lock (a.k.a. Aidan Plainfield) in 1841, whose wife and daughter were killed by Comanches during the Victoria raid of 1840. Since the raid, Lock has left his life behind, surviving alone in the Great Plains. One morning he discovers that Comanches have stolen his horse, and he sets off to recover it. Along the way, he meets Mr. Pendleton, an Englishman who has been injured by Comanches, and Raymond Wales, a thief who has been mysteriously left to hang in the middle of the woods. Mr. Pendleton and Raymond Wales, each of whom have their own mysterious motivations, join Lock on his journey.
Department of English

The commitment to community shared by Native American authors such as N. Scott Momaday, James Welch, and Louise Erdrich is partially evinced by each author's readiness to inscribe in novel form the values and traditions of the tribal community or communities with which he/she is closely associated. Many students of the novel will attest to its pliant, sometimes transmutable nature; nevertheless, as this study attempts to make clear, there are some reasons why Native American authors should reconsider using the novel as a means to express their tribal communities' values and traditions. Unambivalent prescriptions, however, seem more suited to the requirements of law or medicine; and so this study also examines some of the reasons why Native American authors should continue to embrace this relatively "new" art form persistently termed the novel.

This qualitative study comparing three separate English-language versions of a single Dakota cultural myth "Iktomi" presents a novel systematic approach for analyzing Native American folk tales to understand how stories function as tools of transmission of cultural information and knowledge. The method involved coding character traits according to type with regard to representation, ability, or attribute to ascertain patterns among the codes and elucidate character roles and relationships, reorganizing the coded traits into paired polarized correspondences to clarify relationships among traits, and assessing pronoun use and documenter effect pointing to gender-specific character activity. Findings revealed an encoded framework illuminating how the tale is used to represent progressive stages in the Dakota vision quest. Analysis using simple word counts of character traits produced emergent patterns disclosing a male-specific focus on character activities with additional evidence delineating a framework for the vision quest traditionally regarded tribally as a male rite of passage.

博士
國立成功大學
外國語文學系
102
This dissertation explores the identity crisis presented in Indian postcolonial fiction about India’s Partition with Pakistan in 1947. While the discussion principally focuses on Saadat Hasan Manto’s Mottled Dawn: Fifty Sketches and Stories of Partition, Bhisham Sahni’s Tamas, and Chaman Nahal’s Azadi, it is evident that much Indian partition fiction is narratives on/of the identity crisis that led to the most horrific acts of violence and the mass exodus in Indian history. From colonial order to postcolonial disorder, the three literary texts under discussion indicate a process of identity formation, deformation and re-formation when recognition of self identity is incompatible with social acceptance due to intergroup conflicts. In parallel with the theme of social identity loss and change, events in the texts are narrated in three phases: pre-partition coexisting harmony, partition genocidal holocaust, and post-partition reconciled hope. This narrative structure completes a birth-death-rebirth cycle and therefore achieves an effect of catharsis.

Homol'ovi II is a fourteenth-century, ancestral Hopi pueblo with over 700 rooms. Although known by archaeologists since 1896, no systematic excavations were conducted at the pueblo until 1984. This report summarizes the findings of the excavations by the Arizona State Museum of five rooms and an outside activity area, which now form the core of the interpretive program for Homolovi Ruins State Park. The significant findings reported here are that the excavated deposits date between A.D. 1340 and 1400; that nearly all the decorated ceramics during this period were imported from villages on the Hopi Mesas; that cotton was a principal crop which probably formed the basis of Homol'ovi II's participation in regional exchange; that chipped stone was a totally expedient technology in contrast to ground stone which was becoming more diverse; and that the katsina cult was probably present or developing at Homol'ovi II. These findings from the basis for future excavations that should broaden our knowledge of the developments taking place in fourteenth-century Pueblo society connecting the people whom archaeologists term the Anasazi with those calling themselves Hopi.

Hopi traditional songs or taatawi are more than aesthetic objects; they are sound-based expressions of Hopi authority. As I argue in this dissertation, creating, performing, circulating, and remembering taatawi are what we might call acts of sonic sovereignty: a mode of authority articulated within ongoing, sound-based networks that include Hopi people, plants, weather systems, land, and other living things within Hopi territories. I begin by exploring the generative process through which taatawi do their connective work, which includes long-term collaborations between yeeyewat (composers) and environmental actors that establish a collective vision of prosperity that is realized when these songs are performed. Hopi composer Clark Tenakhongva’s taatawi performances during Grand Canyon National Park’s Centennial (a Hopi sacred space currently controlled by settler governments) exemplify the ways Hopi people are actively using taatawi to (re)assert Hopi relations to colonized territories. Because taatawi are closely tied to Hopi relations to one another and the land, and sometimes contain specialized forms of knowledge held closely by Hopi clans and ceremonial societies, their ownership and circulation remains of vital concern to Hopi people. Laura Boulton’s recording of Hopi singers Dan Qötshongva, Thomas Bahnaqya and David Monongye in the Summer of 1940, and the travels of those recordings afterwards, show us the complex politics of Hopi song circulation in the early Twentieth Century up through the present, and how settler cultural and intellectual property laws provide only limited possibilities for indigenous groups seeking to bring their ancestors’ voices back under their control. And even if tribes could reclaim taatawi under settler property laws, these laws require physical and conceptual transformations that effectively sever them from the networks of relations from which they were created. To better support Hopi sonic sovereignty going forward, I offer brief sketches for three potential interventions: (1) an indigenous works amendment to the United States Copyright Act; (2) the use of indigenized licensing frameworks to embed indigenous protocols into the governance and circulation of indigenous creative works both on and off indigenous lands; and (3) establishing a right to indigenous care, similar to Europe’s right to forget, whereby our ancestors’ voices can be subject to indigenous care rather than preserved anonymously and perpetually as archival objects. My hope is that these will allow indigenous communities to better assert and maintain control over their modes of sonic sovereignty despite the increasing colonization of the sonic world by global intellectual property regimes.

Text in English with abstracts in English, Afrikaans and isiZulu. Translated titles in Afrikaans and isiZulu.
This study examines the symbiotic relationships between Hopi traditional arts, the use of art and narrative as mnemonic device, and embedded references to the Fourth World narrative that describes how the Hopi people climbed from a troubled Third World into the current spatio-temporal era, the Fourth World. (The original oral narrative was published by anthropologist Harold Courlander and anonymous consultants in 1971 as The Fourth World of the Hopis: The Epic Story of the Hopi Indians as Preserved in Their Legends and Traditions.) This study posits that the traditional arts of the Hopi and their forebears serve as visual and oral reiterations of the Fourth World narrative, including their emergence from an opening in the earth known as the sipaapuni. After promising to live a harsh but reverent life, the land’s guardian, Maasaw, made the arid southwestern North American land theirs. The Hopi people call these lands Hopi Tutskwa, the original home of the migrating “Ancestral Puebloan” predecessors. The Hopi consider objects, habitation sites, structures, and other sacred features to be these ancestors’ embodied “footprints.” This study describes how diverse Hopi arts are both Ancestral Puebloan “footprints,” and what archaeologists define as “exographic” objects or mnemonic forms of “symbolic storage.” The use of mnemonic objects within the Puebloan culture has been documented as early as 1630 by Fray Alonso de Benavides who noted the use of “knotted strings” as a form of recording “sins” (Morrow, 1996:42). As they relate to mnemonic technology, Hopi arts and lifeways expand the boundaries of Western art history studies to include elements of archaeology and anthropology. Within these interdisciplinary contexts, objects and imagery are not simply “art” in the Western sense, but embodiments of cultural belief and visual reiterations of oral narratives which preserve intrinsic cultural knowledge and belief. This study suggests that what has previously been categorised as Hopi “art” within Western academic contexts is instead an extension of the West’s tradition of ekphrasis, or simply “writing about art.” Therefore, Western academia inappropriately emphasises chronological form, style, and development within Hopi arts rather than the significant cognitive role art plays within the culture of the people. As traditional metaphors for or reiterations of the Fourth World narrative, this study shows how content embedded within Hopi arts is most appropriately studied through iconological and mytholinguistic analysis as they best serve the Hopi people’s non-Western oracy-based tradition.
Hierdie studie ondersoek die simbiotiese verhoudings tussen die Hopi se tradisionele kunsvorme; hulle gebruik van kuns en narratief as mnemoniese middele; en ingebedde verwysings na die Vierdewêreld-narratief wat vertel hoe die Hopi-nasie bo ’n veelbewoë Derde Wêreld kon uitstyg en die huidige tydruimtelike era, die Vierde Wêreld, kon betree. (Die oorspronklike orale narratief, The Fourth World of the Hopis: The Epic Story of the Hopi Indians as Preserved in Their Legends and Traditions, is in 1971 deur die antropoloog Harold Courlander en anonieme konsultante gepubliseer.) Hierdie studie voer aan dat die tradisionele kunste van die Hopi’s en hul voorvaders dien as visuele en orale reïterasies van die Vierdewêreld-narratief, insluitende hulle verskyning deur ’n opening in die aarde wat as die sipaapuni bekend staan.Nadat hulle beloof het om 'n moeilike dog eerbiedige lewe te leef, het die bewaker van die land, Maasaw, die woestynagtige suidweste van Noord-Amerika aan hulle gegee. Die Hopi-nasie het hierdie streek Hopi Tutskwa, die oorspronklike tuiste van die swerwende “Voorvaderlike Puebloaanse” voorgangers, genoem. Die Hopi beskou objekte, woonterreine, strukture en ander heilige elemente as vergestaltings van die voorvaders se “voetspore”.Volgens die studie is uiteenlopende Hopi-kunsvorme nie net Voorvaderlike Puebloaanse “voetspore” nie, maar ook die “eksografiese” objekte of mnemoniese vorme van “simboliese bewaring” wat deur argeoloë omskryf word. Die aanwending van mnemoniese objekte in die Puebloaanse kultuur is reeds in 1630 opgeteken deur Fray Alonso de Benavides. Hy het vermeld dat knope in toue gemaak is om van “sondes” boek te hou (Morrow, 1996:42). Die verband wat Hopi-kunsvorme en -lewenswyses met mnemonise tegnologie hou, verbreed die grense van Westerse kunsgeskiedenisstudie om ook elemente van argeologie en antropologie in te sluit. In hierdie interdissiplinêre kontekste is objekte en beelde nie net eenvoudig “kuns” in die Westerse sin van die woord nie; dit is ook ’n vergestalting van kulturele oortuigings en visuele reiterasies van orale narratiewe wat intrinsieke kulturele kennis en oortuigings bewaar. Hierdie studie voer aan dat dit wat voorheen in Westerse akademiese kontekste as Hopi-“kuns” gekategoriseer is, in werklikheid ’n verlenging is van die Westerse ekphrasis-tradisie, wat eenvoudig beteken “om oor kuns te skryf”. Westerse akademici plaas dus ’n onvanpaste klem op die chronologiese vorm, styl en ontwikkeling van Hopi-kuns in plaas daarvan om die kognitiewe rol wat kuns in die kultuur speel, te beklemtoon. Hierdie studie toon hoe die ingebedde inhoud van Hopi-kunsvorme, as tradisionele metafore vir en reiterasies van die Vierdewêreld-narratief, op die mees gepaste wyse bestudeer kan word deur ikonologiese en mitolinguistieke ontleding van die Hopi-nasie se nie-Westerse tradisie wat op geletterdheid van die gesproke woord (oracy) gebaseer is.
Lolu cwaningo luhlolisisa ubuhlobo bobudlelwane obukhona phakathi kobuciko bamasiko endabuko amaHopi, ukusetshenziswa kobuciko nokulandisa njengamadivaysi aphathelene nokukhumbuza kanye nezinkomba ezifakwe emlandweni Wesine Womhlaba ochaza ukuthi abantu bamaHopi bakhuphuka kanjani ezweni elabe liyinkinga ukufinyeleleni kulesikhathi sanamuhla soMhlaba Wesine. (Indaba yokuqala elandisayo exoxwayo yashicilelwa umuntu oyisazi seanthropholoji esaziwa ngokuthi nguHarold Courlander kanye nabaxhumanisi abangaziwa ngonyaka ka1971 njengengoMhlaba Wesine wamaHopi: Indaba Yokubonga Amaqhawe abantu abangaMandiya angamaHopi njengoba Kugcinwe kuyiZinganekwane Namasiko abo). Lolu cwaningo lubonisa ukuthi ubuciko bamasiko bamaHopi kanye nabokhokho babo babedlulisa imilayezo ngezinto eziphindaphindiwe ezibukwayo nezidluliswa ngomlomo ekulandiseni ngoMhlaba Wesine, kufaka phakathi ukuvela kwawo ekuvuleni emhlabeni owaziwa ngokuthi yisipaapuni. Ngemuva kokuthembisa ukuthi uzophila impilo enzima kodwa ehloniphekile, umgcini wezwe uMasaaw wenza umhlaba omelele eningizimu nasentshonalanga neNyakatho neMelika ukuthi ube ngowabo. AmaHopi abiza lemihlaba ngokuthi yiHopi Tutskwa, okuyikhaya langempela olwafuduka “koKhokho wePuebloan” owayekhona esikhundleni ngaphambilini. AmaHopi abheka izinto, izindawo zokuhlala, izakhiwo kanye nezinye izici ezingcwele ukuba zibe yilezo zinto ezifakwe "ezinyathelweni" zokhokho. Lolu cwaningo luchaza ubuciko obuhlukahlukene bamaHopi obusho “izinyathelo” Zokhokho bePuebloan kanye nalokho okuchazwa ngabantu abaphenya ngezinto zasendulo okuthiwa ama-akhiyoloji njengezinto "eziyi ekzografi " noma izinto iziphathelene nokukhumbula okuthile "okuwuphawu olugciniwe". Ukusetshenziswa kwezinto eziphathelene nokukhujulwayo osikweni lwamaPuebloan laqoshwa phansi kusukela eminyakeni ye-1630 nguFray Alonso de Benavides oye waqaphela ukusetshenziswa “kwezintambo eziboshiwe” njengento yokuqopha noma ukurekhoda “izono” (Morrow, 1996:42) Njengoba zihlobene nobuchwepheshe bezinto ezikhunjulwayo, ubuciko bamaHopi nokuphila kwabo kwandisa imingcele yezifundo zomlando yaseNtshonalanga okufaka phakathi izinto zama-akhiyoloji nama anthropholoji. Ngaphakathi komongo wezizinda ezahlukene, izinto nemifanekiso akuzona nje izinto ezilula “eziwubuciko” ngokomqondo waseNtshonalanga, kodwa ukukhombisa izinkolelo zamasiko kanye imilayezo ngezinto eziphindaphindiwe ezibukwayo nezidluliswa ngomlomo ezigcina ulwazi lwangaphakathi olujwayelekile lwamasiko nenkolelo. Lolu cwaningo lubonisa ukuthi yini eyabekwa yahlelwa nje "ngobuciko" bamaHopi ngaphakathi kwezimo zezemfundo zaseNtshonalanga kunalokho kwandiswa isiko laseNtshonalanga okuwu buciko bokukhuluma, noma “ukubhala ngosiko”. Ngakho-ke, izazi ngezemfundo zaseNtshonalanga zagcizelela okungalungile ngendlela yokulandelana, isitayela nentuthuko ngaphakathi kobuciko bamaHopi esikhundleni sendima ebalulekile yokuqonda edlalwa ubuciko osikweni lwabantu. Njengamazwibela wendabuko wokungathekisa noma ekulandiseni ngoMhlaba Wesine ngokuphindaphindiwe, lolu cwaningo lubonisa ukuthi okuqukethwe kufakwe kanjani ebucikweni bamaHopi okuyindlela efanelekile okufundwa ngayo kusetshenziswa ukuhlaziya ayikhonoloji kanye nesayensi ephathelene nolimi lwezinganekwane njengoba babechaza abantu abangamaHopi olwakhelwe osikweni lokuxoxwa ngomlomo okungelona lwaseNtshonalanga.
Art History, Visual Arts and Musicology
D. Litt. et Phil. (Art History)